Los Angeles – May 8, 2020 – To commemorate the 50th anniversary of Frank Zappa’s celebrated but short-lived 1970 Mothers Of Invention lineup, “Portuguese Fenders,” the first track to be released from the new collection, The Mothers 1970 is available to stream today. The newly-discovered gem is one of 70 unreleased live and studio recordings featured on The Mothers 1970, available digitally and as a 4CD box set June 26 via Zappa Records/UMe. Recorded live by Zappa on his own tape recorder on tour in 1970, “Portuguese Fenders” is a rollicking live recording featuring an exhilarating guitar solo by the iconoclastic composer and virtuosic guitarist backed by the revered ensemble. Stream “Portuguese Fenders” or pre-order The Mothers 1970 here: https://FrankZappa.lnk.to/Mothers1970

Overseen by the Zappa Trust and produced by Ahmet Zappa and Zappa Vaultmeister, Joe Travers, The Mothers 1970 collects together more than four hours of previously unreleased performances by the heralded lineup which lasted roughly seven months: Aynsley Dunbar (drums), George Duke (piano/keys/trombone), Ian Underwood (organ/keys/guitar), Jeff Simmons (bass/vocals) and Flo & Eddie aka Howard Kaylan (vocals) and Mark Volman (vocals/percussion) of The Turtles who performed under the aliases to skirt contractual limitations of performing under their own names. This iteration of The Mothers, which likely began rehearsals fifty years ago this month, came to an end in January of 1971 when Simmons quit the band during the making of the “200 Motels” movie.

The Mothers 1970 encapsulates the band’s brief but productive span, which included two visits to the studio – resulting in the fantastic 1970 album, Chunga’s Revenge – and tours across the U.S., Canada and Europe. Divided into four parts, the collection is anchored by top notch studio recordings recorded at the famed London-based Trident Studios on June 21-22 with a then-young, unknown producer in the engineer chair by the name of Roy Thomas Baker, several years before he’d go on to have massive success working with Queen, The Cars and Alice Cooper to name a few. An unreleased early mix by Baker of the Chunga’s Revenge track, “Sharleena,” is just one of the many highlights of the studio recordings that also boasts several unearthed rough mixes of the Zappa/Simmons co-write, “Wonderful Wino,” including a rare version that showcases vocals and an alternate guitar solo by Zappa that has been lost to the ages as the original multi-track stems were recorded over. Of the material recorded during this two-day span, “Sharleena” was the only song ever officially released – so tracks like “Red Tubular Lighter,” “Giraffe” and an unheard version of “Envelopes” are completely brand new to fans half a century later.

The band’s live prowess is represented with a slew of concert recordings, including the first official release of the oft bootlegged “Piknik” performance originally broadcast on Dutch radio station VRPO, and live performances from concerts in Santa Monica, Calif. and Spokane, Wash. which have been edited together and presented as a hybrid concert since both shows were not fully captured. The release is rounded out with a selection of live highlights recorded around the U.S., interspersed with candid moments recorded in dressing rooms, motel lobbies and the stage by Zappa who took his personal UHER recorder everywhere. All recordings comprising The Mothers 1970 were sourced from their original tapes discovered in The Vault and digitally transferred and compiled by Travers in 2020. Some tracks were mixed by longtime Zappa Trust associate Craig Parker Adams and the collection was mastered by John Polito at Audio Mechanics.

It wasn’t until 1971 when Zappa would start documenting his gigs with a ½” 4-track recorder so the 1970 tours were not captured in typical fashion. Instead Zappa recorded as much as he could using his personal UHER recorder and it is these recordings that make up the second half of The Mothers 1970. Because of the nature of the recordings it was almost virtually impossible for Zappa to record full shows due to the limitations of the tape recorder and the fact he would often times personally spool tape on the machine on stage while playing. Occasionally Zappa would have the soundman set up the recorder in the venue to tape the concert. This resulted in ambient recordings which was the case for the Santa Monica and Spokane recordings as well as the live performances that make up the final disc. Similar to the Gail Zappa-created “Road Tapes” live series, these recordings contain audience noise allowing listeners to experience what it was like to be there. The set lists focus heavily on songs from the albums Freak Out!, Absolutely Free, We’re Only In It For The Money, Uncle Meat, the then-recently released Burnt Weeny Sandwich, and early workings of songs that would eventually be released months later on Chunga’s Revenge. Some of the many highlights include the extended guitar workouts, the first version of “Easy Meat” and rare live performances of “Would You Go All The Way?” and “Road Ladies.”

Following Zappa’s especially productive year of 1969, which saw him record and release several albums, including Uncle Meat and Hot Rats, produce Captain Beefheart’s outsider classic, Trout Mask Replica, as well as the one and only album for The GTO’s, the musician disbanded the original Mothers Of Invention and started experimenting with smaller lineups. Through a variety of circumstances and several chance encounters, Zappa began to assemble his new group of collaborators, with the only original Mother being Ian Underwood. As Travers writes in the enlightening liner notes, which also include a wealth of live and behind-the-scenes photos from this era: “It’s no secret that Frank was excited about this group. The cast of characters and their personalities, musically and personally, made for a very eventful and humorous chapter in Zappa’s career. Frank had a blast with these guys. Their sound was unique, their humor was like no other and yet their time was ultimately short lived.”

Fleeting as it may have been, this camaraderie is on full display and will now live on forever as the exciting new collection, The Mothers 1970.

1. Introducing…The Mothers (Live on “Piknik” June 18, 1970)2. Wonderful Wino (Live on “Piknik” June 18, 1970)3. Concentration Moon (Live on “Piknik” June 18, 1970)4. Mom & Dad (Live on “Piknik” June 18, 1970)5. The Air (Live on “Piknik” June 18, 1970)6. Dog Breath (Live on “Piknik” June 18, 1970)7. Mother People (Live on “Piknik” June 18, 1970)8. You Didn’t Try To Call Me (Live on “Piknik” June 18, 1970)9. Agon (Live on “Piknik” June 18, 1970)10. Call Any Vegetable (Live on “Piknik” June 18, 1970)11. King Kong Pt. I (Live on “Piknik” June 18, 1970)12. Igor’s Boogie (Live on “Piknik” June 18, 1970)13. King Kong Pt. II (Live on “Piknik” June 18, 1970)14. What Kind Of Girl Do You Think We Are? (Live at Pepperland September 26, 1970)15. Bwana Dik (Live at Pepperland September 26, 1970)16. Daddy, Daddy, Daddy (Live at Pepperland September 26, 1970)17. Do You Like My New Car? (Live at Pepperland September 26, 1970)18. Happy Together (Live at Pepperland September 26, 1970)Total Time: 63:34

Pre-ordered. Four discs in a clamshell box. That is the way to do these

I like this packaging the best too. It seems to protect the discs very well with that sleeve, similar to a vinyl record release. Still a pretty steep price for a 4 disc set with no real extras. Roxy was 7 discs and was around $40 when it first came out. This one $60. Still don't understand how they figure pricing on these.

_________________“Listen to everyone, read everything; believe absolutely nothing unless you can prove it in your own right!”

Yeah, a bit pricey. When Ahmet first took over the operation, the archive releases started coming out at greatly reduced price points, which was quite welcome! I remember getting Meat Light, Little Dots, and Chicago '78 for less than $50 total. Maybe that pricing strategy didn't work out. Still, this is a must-have, and I'm happy about the absence of space-wasting gimmick packaging, so bring it on!

Ordered it immediately. I love this lineup, and it trumps '71 because of Simmons & Duke. So far my exposure to this group has been:Freaks & Motherfuckers (BTB1) - one of the worst BTB releases, but there are some great moments.Tengo Na Minchia Tanta (BTB2) - same show as Freaks, different & better tracklist/sound.Disconnected Synapses (BTB2) - the jams w/ Ponty are great, and my first time hearing Brain Police from this band. Love it.

More recently: Road Tapes #3 - great release, I don't get some of the negative reviews of this. Live @ Uddel./Piknik VPRO - grabbed this as a "grey-area" release on vinyl 180 gram, Dolchess or one of those labels for $20. Very good sound. Wondering how much improved the sound will be on Disc 2 now. Live In San Francisco(Fillmore) - another recent "grey-area" release on CD(Vox Rox label), great sounding, got it for $8. Best track on it is a 5 min Easy Meat which is only teased on Freaks & Tengo.

You're never going to get everyone happy about these releases. Some complain they just want a download and aren't interested in the packaging - I'm in that camp - but now that they are available, less people will buy the packaged versions and hence the price of those will go up. I've just stumped up AUD16.99 for the iTunes version of this release, which is quite cheap. I'm really only interested in listening to it. The last packaged release I bought was Orchestral Favorites.

Unacceptably, they are still selling the download of the Baby Snakes movie soundtrack for AUD53.99. I still haven't bought that and I won't - it's an absurd price. I paid way less for the DVD when it was originally broadly available. It's available on Amazon OZ right now as part of a three disc set along with Torture and Dub Room for AUD47.83 with free delivery. And then with the appropriate software extract your own soundtrack version, free.

_________________The way I see it Barry, this should be a very dynamite show.

Pre-ordered. Four discs in a clamshell box. That is the way to do these

I like this packaging the best too. It seems to protect the discs very well with that sleeve, similar to a vinyl record release. Still a pretty steep price for a 4 disc set with no real extras. Roxy was 7 discs and was around $40 when it first came out. This one $60. Still don't understand how they figure pricing on these.

Pre-ordered. Four discs in a clamshell box. That is the way to do these

I like this packaging the best too. It seems to protect the discs very well with that sleeve, similar to a vinyl record release. Still a pretty steep price for a 4 disc set with no real extras. Roxy was 7 discs and was around $40 when it first came out. This one $60. Still don't understand how they figure pricing on these.

CDs $5 each, $40 for the button

a $40.00 pin-back through my heart.....

_________________hey punk where you going with that golf club in your hand, again.....

Turning back the clock to The Mothers 1970, the official catalog and videography that exists, that gave a limited keyhole view. Mother's 70 is a much needed production. This and an expansive 200 motels project would seem companions for eternity.

Conceptually it's as if we have received an invitation to Frank Zappa's Magical Mystery Tour. While the current catalog and large variety of films made from VPRO footage give amazing insight, we will soon be going to a secret location. Reading the promotion and hearing Portuguese Fenders, it's clear this audio production digs deep.

Some fans view this period as weighted in Playground Pychotics. While the touring material of this time is weighted in 70 percent vocals, Portuguese Fenders and orchestral material Frank was working on gave a clear view where Frank's vision was pioneering progressive elements as groundbreaking as Hendrix or any modern composer. While it's all connected an observation is the so called playground has many different areas of play.

If anyone has ever asked what Hendrix would have sounded like with Aynsley Dunbar the answer remains this is what Zappa sounded like with Aynsley Dunbar. Best coin toss in the history of Rock and Roll.

I think many will also look deep as to what each musician contributed. I'll not dig into deep analysis . While fans first hearing Mothers 70 incarnation of the band had understood what Ian Underwood could contribute this was George Duke's first time in The Mothers. Frank had worked with him in 69' on King Kong Jean Luc Ponty Plays The Music of Frank Zappa.

While the bus makes a stop at The Playground the overall Mothers 70 show Frank was a pioneer. 70 previously unreleased tracks. 50 years later, this June brings an eagerly awaited journey.

I just pre-ordered the bundle with the shirt (for an XL freak)! I have to ask you others though, "Did you get screwed on the download of Portuguese Fenders like I did?" I mean it said "download now" and I hit the button, and it allowed me to just listen to the track once!! That's not a download. It'll be in the box....but it was a tiny tease there wasn't it?

There are some aspects of the Mothers 70 stage show that may or may not ever be answered. What I do know is the release of the project fits in well with any weird twisted anxieties that anyone may be feeling in Covid society. Guess you can call what many are dealing with today is Covid Dimension. With deepest sincerity, I hope all are safe and I hope we can all hammer that message home.

Speaking of hammering a message home, I wonder where Mark Volman came to using a hammer as a prop during Penis Dimension. During the Hiya friends dialogue.

That hiya friends dialog that Mark Volman literally hammers into the mind of The Fillmore West Audience. The playfulness of the band , FZ looked so happy, he could quickly rip some Rock and Roll Guitar player notes. I believe it was shown in the VPRO documentary. How they edited to the band at FZs house, that playful comic behavior of Jeff Simmons and Mark Volman.

"There's enough trouble in the world today"....

We need Mother's 70, that comic relief. May all abandoned goat riders stand tall and deliver. No reproduction of Sharron Tate's house need apply.

Edit Note:(Having just done a little research the FZ home footage begins with Howard Kaylan stating " The lovely Carol Merrill is standing in front of us at this very moment" . That showing the scene is role play commedy with Mark Volman playing Carol Merrill.

Carol Merrill was the 1st big name US TV Game Show Model. Let's Make A Deal. She would stand in front of the curtain or prizes that could very well be a hoax prize, such as an abandon goat rider". Another example of humor hammered home daily in America. Unfortunately I don't think the contestants could bring the goats and cows home.

The Mother's 70 can't come fast enough...

Hit it, ready, on que, everybody sing.

Last edited by Trendmonger on Thu May 28, 2020 4:19 am, edited 7 times in total.

A few years before Roy Thomas Baker gained fame as the producer for some of the greatest albums by Queen and the Cars, he was one of several engineers to work with the ever-prolific Frank Zappa.

A new four-disc box set, The Mothers 1970, spotlights some of the work Baker did with Zappa, including a rare early mix of “Sharleena,” the track that closed out Zappa’s Chunga’s Revenge LP.

Interestingly, it’s cleaner sounding and doesn’t have as much of the mushy background guitar that creeps up in the Chunga version, or the heavy organ toward the end. Baker also didn’t play up the doo-wop harmonies as much as the better-known rendition did.

The collection, which comes out June 26th but is now available for preorder, contains 70 previously unreleased recordings and live renditions of songs from 1970. The Mothers lineup at the time featured Zappa, drummer Aynsley Dunbar, keyboardist and trombonist George Duke, organist and keyboardist Ian Underwood, bassist Jeff Simmons, and Flo and Eddie (the Turtles’ Mark Volman and Howard Kaylan). The membership remained the same for a year, when Simmons left during the making of the movie 200 Motels.

“It’s no secret that Frank was excited about this group,” Zappa family “Vaultmeister” Joe Travers said in a statement. “The cast of characters and their personalities, musically and personally, made for a very eventful and humorous chapter in Zappa’s career. Frank had a blast with these guys. Their sound was unique, their humor was like no other, and yet their time was ultimately short-lived.”

The group held a recording session in London on June 21st and 22nd, and that’s when Baker sat behind the mixing desk, serving as engineer while Zappa produced. The alternate interpretation of “Sharleena” came early in the mix-down process, and the finished version of “Sharleena” was the only recording from the session that came out.

The remainder of the London sessions compose the box set’s first disc, while the rest of the discs contain live recordings. The set lists feature a lot of material from early Mothers of Invention albums Freak Out!, Absolutely Free, and We’re Only in It for the Money, among others.

...

_________________“Listen to everyone, read everything; believe absolutely nothing unless you can prove it in your own right!”

I normally do not subscribe to favorite songs but this early Roy Thomas Baker Mix is an example of desert island MIX. This MIX of Sharleena could easily be named the Caviar on Silk MIX.

Firstly, UMe is doing a fantastic job promoting and moving with new Zappa projects. Rolling Stone articles are a really fine example of amazing press. With the publicity we can see the UMe YouTube post of Sharleena had about 2 thousand views in the first 24 hours.

In this MIX you can clearly hear Frank's prepared Guitar parts at the beginning of the I would be so delighted section. Those layers continue. So very reminiscent of Harry Partch. I will say this Roy Thomas Baker MIX is my favorite POP mix of all time. That does not mean I ever expected or focused on wanting to hear an exact studio arrangement of any Zappa song at one of his live shows.

In this MIX the subtle rythm guitar, punchy bass, Silk vocals and Anysleys Drums is the Caviar.(Wild Caught and Sustainable Beluga).

This could have easily been a POP or AOR radio with a bullet hit, if only it had been promoted and given airplay. The send her on home to me outro would be a perfect out-take for commercials.

As heard in Playground Psychotics "The Living Garbage Truck" Bruce Bisell of Reprise Records wanted to take publicity photos of The Mothers in front of a garbage truck.

Surely radio did not give Frank Zappa a fair chance but if they had the 5th Dimension "Up, Up and Away" In My Beautiful Balloon form of Radio and TV promo things could have faired differently with POP and AOR airplay.

While Up, Up and Away was #7 on the charts in 1967 the symbolism of The Mothers taking off in an air balloon is a parody more in line with We're Only In It For The Money, as opposed to concept association with ugly Mothers Garbage symbolism of the 60s. Surely both connect with 60s but I like the connection to pop success than ugly MF. My promo concept thoughts are just Monday Morning Quarterbacking. They show my feelings are sincere of pop masterpiece as opposed to using symbolism of garbage to promote what Mothers 70 was doing.

Even by 1970 , Flo and Eddie were standouts as a premiere pop vocal duo of a generation. As a new decade and Mother's unfolded I did not see the ugliness of garbage as promo for Mother's 1970. With a fair chance at radio airplay and TV, I see no reason why Sharleena would not be number 1 in 1970.

I am blown away by this MIX. Sure FZs heavy chords , wah wah guitar and keys are pushed back a bit but this is a pop masterpiece. You get to hear more of the overall instrumentation clearly. The overall arrangement is clear. And Rolling Stone did make note of that.

As much as Rolling Stone published the R&B harmonies were pushed more in the background, for my ears the overall Doo-Wop textures are very clear. They wrote:

"Baker also didn’t play up the doo-wop harmonies as much as the better-known rendition did" Rolling Stone.

In how the overall R&B textures can be heard, maybe some listeners will get that impression on the harmonies but I hear more R and B.

FZs Doo-wop inspired deep bass vocals are clear. All the Doo-wop Flo and Eddie vocals are clear, The Jeff Simmons send my baby home nails the overall vocal production .The up front sax, while not a long solo stands out, very much like Gene and Eunice This is My Story. These were some of the many 50s R&B landscapes in the production.

All the layered textures. While I say a Pop Masterpiece it has so very many textures. In a way it has a Burt Bacharach Midas Touch. Burt's writing and arranging frequently has an uncommon selection of instruments for small orchestras. FZs Rock and Roll ensembles was in the same dimension.

When you break down all the layers 50s and 60s R and B, Rock deep rooted while at the same time FZ throws in a prepared guitar part that's a layer of Harry Partch. Zappa and Bacharach each share a sense of uncommon selection of instruments for small orchestras.

Honestly my analysis here is only a general landscape but just as the ZFT and Joe Travers made the Classic Albums Overnight Sensation Apostrophe (') DVD I have hopes of Zappa Podcasts that focus on Album Masters in an AUDIO format.

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